I don’t think there are two distinct versions. I suspect (though to be honest I
haven’t used a stop watch to time it) that Shira may be ascribing a precision
to the film which it in fact lacks—though the ascription is entirely
understandable since, as a foundational ‘structural film’ using a strategy of
repetition, (nostalgia) invites an expectation that it’s all worked out in
advance, and that each unit is structurally consistent.

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But each photo burns differently (the photographic paper is likely different),
and (at least according to an analysis by Steina at the ZKM show on Buffalo
Media Study) each segment has a slightly different length.
There’s an interesting study to be done on differing descriptions of
experimental films to explore the different ways in which we see, describe, and
interpret these works.
> On Mar 4, 2016, at 2:31 PM, John Muse <jm...@sonic.net> wrote:
>
> But is the Treasures version the one Segal describes, and is that the, um,
> authorized version? And is the one on the Odyssey collection, which Brand
> worked on too, authorized as well? Are there two distinct versions
> circulating?
>
> I just had that Treasures comp in my hands, but I returned it to our library.
> Dang!
>
> j
>
> On Mar 4, 2016, at 2:48 PM, Mark Toscano <mrkt...@gmail.com> wrote:
>
>> The transfer on the Treasures IV set was supervised by the inimitable Mr
>> Bill Brand, who knows the films intimately, and also has helped supervise
>> restorations and digital mastering of numerous other Frampton films.
>>
>> Mark T
>>
>> On Fri, Mar 4, 2016 at 10:22 AM, Ken Eisenstein <ken7...@gmail.com> wrote:
>>
>>
>> Cf. the version on Treasures
>>
>> http://www.filmpreservation.org/dvds-and-books/treasures-iv-american-avant-garde-film
>>
>>
>>
>>
>> On Fri, Mar 4, 2016 at 1:06 PM, John Muse <jm...@sonic.net> wrote:
>> Having checked with the usual suspects, I'm at a loss to explain the
>> discrepancy between the version of (nostalgia) on the 2012 Criterion disk
>> and the version described by a few folks, one being Shari Segal, who in a
>> 2005 essay entitled From the Private to the Public" writes:
>>
>>> Each voice-over begins fifteen to twenty seconds after the new photograph
>>> appears, precisely the amount of time permitted before the photograph’s
>>> destruction visibly begins.
>>
>> This doesn't describe the voice-over to image relationship I see in the 2012
>> disk. The voice-overs begin before the new image arrives, not 20 seconds
>> after. Is she wrong? Or did she see a different film?
>>
>> Clues? And I apologize if the answer is obvious.
>>
>> j/PrM
>>
>> *************************************************
>>
>> john muse
>> visiting assistant professor of independent college programs
>> haverford college
>> http://www.finleymuse.com
>> http://www.haverford.edu/faculty/jmuse
>> http://haverford.academia.edu/JohnMuse
>>
>> *************************************************
>>
>>
>>
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> j/PrM
>
> *************************************************
>
> john muse
> visiting assistant professor of independent college programs
> haverford college
> http://www.finleymuse.com
> http://www.haverford.edu/faculty/jmuse
> http://haverford.academia.edu/JohnMuse
>
> *************************************************
>
>
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